For 468 reviews, this critic has graded:
  • 35% higher than the average critic
  • 3% same as the average critic
  • 62% lower than the average critic
On average, this critic grades 1.1 points higher than other critics. (0-100 point scale)

Peter Rainer's Scores

  • Movies
Average review score: 60
Highest review score: 100 Metropolis (re-release)
Lowest review score: 0 She Hate Me
Score distribution:
  1. Negative: 55 out of 468
468 movie reviews
    • 75 Metascore
    • 80 Peter Rainer
    The film is saying that, left to their own devices, all men would devolve into a morass of monastic grouches. Kitchen Stories is a prime piece of comic anthropology.
    • 73 Metascore
    • 80 Peter Rainer
    Audiences for this film should have no such qualms: When the camel lolls his jaws at dinnertime, or sways his Bactrian bulk, you may decide you've never seen anything quite so hilarious -- or magnificent.
    • 69 Metascore
    • 80 Peter Rainer
    In Collateral Damages, we are witness to heroism, all right, but it's a heroism unsullied by sentimentality.
    • 89 Metascore
    • 80 Peter Rainer
    For most of Eternal Sunshine, I found myself fighting off Gondry's hyperactive intrusions in order to get at the melancholia at its core. Fortunately, the idea behind this movie is so richly suggestive that it carries you past Gondry's image clutter.
    • 69 Metascore
    • 80 Peter Rainer
    It’s a bracing antidote to the usual “Beautiful Mind”–style Hollywoodization of mental illness.
    • 70 Metascore
    • 80 Peter Rainer
    Téchiné gets deep inside the dread and exhilaration of people who have lost their bearings so suddenly they don't even have the luxury of grief.
    • 62 Metascore
    • 80 Peter Rainer
    It's the barbs, and not the inspirationalism, that work best in this movie.
    • 86 Metascore
    • 80 Peter Rainer
    What gives Los Angeles Plays Itself its extraordinary density is the way Andersen transforms a cliché into a metaphysical truth that encompasses far more than L.A.
    • 63 Metascore
    • 80 Peter Rainer
    Terrifying precisely because it doesn't go in for cheesy shock tactics and special effects. (Those sharks are REAL.)
    • 66 Metascore
    • 80 Peter Rainer
    A sense of unease, of incompleteness, is, I think, the appropriate response to this movie. Instead of trying to fill in the blanks, Curran and Gross leave things open and ambiguous. Just like life.
    • 74 Metascore
    • 80 Peter Rainer
    Red Lights is the most ambiguously compelling romance around.
    • 75 Metascore
    • 80 Peter Rainer
    The film is a deeply felt and beautifully acted hagiography.
    • 87 Metascore
    • 80 Peter Rainer
    By all odds, Tarnation should have been an unwatchable, masochistic morass, but Caouette's love for the broken Renee--which is the true subject of the film--is awe-inspiring.
    • 83 Metascore
    • 80 Peter Rainer
    One of the letdowns of Vera Drake is that once Vera is arrested, we lose her voice.
    • 78 Metascore
    • 80 Peter Rainer
    Sylvie Testud gives such a ferociously controlled performance that the messy murder seems like a necessary release.
    • 63 Metascore
    • 80 Peter Rainer
    Zhang is working in a popular sentimental mode here, but his connection to the material -- and to us -- is heartfelt and without a trace of condescension. As a filmmaker, he's the opposite of a con artist, and his new movie is a gentle marvel.
    • 57 Metascore
    • 80 Peter Rainer
    Fortunately, it never dips into bathos. These two actors SHOULD be noticed. They've crafted the most ingenious résumé of the year.
    • 61 Metascore
    • 70 Peter Rainer
    It's still possible to have a good time at this movie, and the primary reason is De Niro.
    • 77 Metascore
    • 70 Peter Rainer
    iIsn't really much more than a funny, touching little squiggle, but it has a bracing honesty and pays particular heed to the betweenness in people's lives, to how much goes on when nothing seems to be going on at all.
    • 49 Metascore
    • 70 Peter Rainer
    The hang-loose grodiness of these films has its charms, and the Ray-Banned team of Will Smith and Tommy Lee Jones, at its best, is good vaudeville.
    • 66 Metascore
    • 70 Peter Rainer
    She sometimes falls into the same trap that Lenny Bruce fell into, playing the taboo-breaking emancipator, but for the most part she's blessedly bawdy.
    • 65 Metascore
    • 70 Peter Rainer
    If the bad guys in the real world were all this obvious, life would be a whole lot easier.
    • 58 Metascore
    • 70 Peter Rainer
    A lovely confection.
    • 72 Metascore
    • 70 Peter Rainer
    It all works on the level of a sprightly sitcom: lesbianism for the Lucy-and-Ethel crowd.
    • 69 Metascore
    • 70 Peter Rainer
    The usual Sayles mix of torpor and talent prevails here.
    • 76 Metascore
    • 70 Peter Rainer
    By continually interrupting the sequences of the adult couple with scenes of the young pair, Eyre shatters the emotional power of Dench and Broadbent.
    • 77 Metascore
    • 70 Peter Rainer
    A loose-limbed documentary about the hip-hop D.J. scene that, for know-nothings like me, is highly informative without being in the least academic.
    • 68 Metascore
    • 70 Peter Rainer
    I'm all for films that don't flow from the usual Hollywood test tubes, but A Civil Action is basically the standard formula with a dash of downbeat.
    • 70 Metascore
    • 70 Peter Rainer
    Practitioners of Cajun, Creole, and zydeco music strut their stuff. So do the players of a style new to me but instantly beloved: I'm speaking of swamp pop.
    • 78 Metascore
    • 70 Peter Rainer
    del Toro blends agit-prop politics and ghoulishness without making the entire enterprise seem silly.